For access of papers with restricted access please contact me: As an effort to follow Ockham's advice, and reduce the number of concepts involved in my Dual-Aspect Theory of moral behavior, and to make my theory, as Popper reminds us, more informative and better testable, I have made a few terminological changes over the past four decades of research:
Greek tragedy Athenian tragedy—the oldest surviving form of tragedy—is a type of dance -drama that formed an important part of the theatrical culture of the city-state.
The presentations took the form of a contest between three playwrights, who presented their works on three successive days.
Each playwright offered a tetralogy consisting of three tragedies and a concluding comic piece called a satyr play. Only one complete trilogy of tragedies has survived, the Oresteia of Aeschylus. The Greek theatre was in the open air, on the side of a hill, and performances of a trilogy and satyr play probably lasted most of the day.
Performances were apparently open to all citizens, including women, but evidence is scant. The play as a whole was composed in various verse metres. All actors were male and wore masks. A Greek chorus danced as well as sang, though no one knows exactly what sorts of steps the chorus performed as it sang.
Choral songs in tragedy are often divided into three sections: This event was frequently a brutal murder of some sort, an act of violence which could not be effectively portrayed visually, but an action of which the other characters must see the effects in order for it to have meaning and emotional resonance.
Another such device was a crane, the mechanewhich served to hoist a god or goddess on stage when they were supposed to arrive flying. This device gave origin to the phrase " deus ex machina " "god out of a machine"that is, the surprise intervention of an unforeseen external factor that changes the outcome of an event.
Roman fresco in Pompeii. Probably meant to be recited at elite gatherings, they differ from the Greek versions in their long declamatory, narrative accounts of action, their obtrusive moralising, and their bombastic rhetoric.
They dwell on detailed accounts of horrible deeds and contain long reflective soliloquies. Though the gods rarely appear in these plays, ghosts and witches abound. Senecan tragedies explore ideas of revengethe occult, the supernatural, suicide, blood and gore.
Renaissance[ edit ] Influence of Greek and Roman[ edit ] Classical Greek drama was largely forgotten in Western Europe from the Middle Ages to the beginning of the 16th century. Medieval theatre was dominated by mystery playsmorality playsfarces and miracle plays.
In Italy, the models for tragedy in the later Middle Ages were Roman, particularly the works of Seneca, interest in which was reawakened by the Paduan Lovato de' Lovati — The earliest tragedies to employ purely classical themes are the Achilles written before by Antonio Loschi of Vicenza c.
Drawn from Livy 's account of Sophonisbathe Carthaginian princess who drank poison to avoid being taken by the Romans, it adheres closely to classical rules. Both were completed by early and are based on classical Greek models, Rosmunda on the Hecuba of Euripidesand Oreste on the Iphigenia in Tauris of the same author; like Sophonisba, they are in Italian and in blank unrhymed hendecasyllables.
Although these three Italian plays are often cited, separately or together, as being the first regular tragedies in modern times, as well as the earliest substantial works to be written in blank hendecasyllables, they were apparently preceded by two other works in the vernacular: In the s, the European university setting and especially, from on, the Jesuit colleges became host to a Neo-Latin theatre in Latin written by scholars.
The influence of Seneca was particularly strong in its humanist tragedy. His plays, with their ghosts, lyrical passages and rhetorical oratory, brought a concentration on rhetoric and language over dramatic action to many humanist tragedies.
The most important sources for French tragic theatre in the Renaissance were the example of Seneca and the precepts of Horace and Aristotle and contemporary commentaries by Julius Caesar Scaliger and Lodovico Castelvetroalthough plots were taken from classical authors such as PlutarchSuetoniusetc.
The Greek tragic authors Sophocles and Euripides would become increasingly important as models by the middle of the 17th century.Comparing these two theories and choosing the stronger one is a difficult and daunting task.
However, I would say that Kant’s theory, despite the weaknesses above, has a better view of morality that Aristotle’s theory.
This is because Kant addresses ethics from a universal point of view through the categorical imperative. Moral Behavior: Aquinas and Aristotle vs. Kant When comparing between the philosophies of St.
Thomas Aquinas/Aristotle and those of Immanuel Kant when regarding moral behavior, there are some very fundamental differences.
What are the similarities and differences in the ethical theories of Aristotle and Immanuel Kant? Kant and Aristotle have 1 thing in common, but many differences. Both men assert/argue that Ethics has a rational basis, in distinct contrast to David Hume's "sentimental" basis, Mill's utilitarian.
The economic, political, and social frameworks that each society has—its laws, institutions, policies, etc.—result in different distributions of benefits and burdens across members of the society. The primary difference between Kant’s deontology (the fancy name for his ethical theory) and utilitarianism, is that Kant viewed an action as right or wrong without respect to the consequences, whereas utilitarianism views an action as right or wrong only with reference to the consequences of the action.
ROJAIYE TOLULOPE (PAU/SMC/MSCPT5/) ETHICS: PERSPECTIVES OF ARISTOTLE, IMMANUEL KANT AND JOHN STUART MILL. Ethics is a branch of philosophy.
It is also called moral philosophy whilst philosophy is the endeavor to frame a coherent, logical, necessary system of general ideas in terms of which.